This document provides an analysis of Wole Soyinka's 1960 play "A Dance of the Forests". It summarizes the plot, characters, themes, and Soyinka's vision/commentary. The play uses spirits and ghosts to represent Nigeria's past and critique its post-independence corrupt politics. Through rituals and revelations, characters confront trauma from their past lives. The play serves as a metaphor for Nigeria's political situation and a warning about repeating past mistakes.
On a Caribbean island, the morning after a full moon, Makak tears through the market in a drunken rage. Taken away to sober up in jail, all that night he is gripped by hallucinations: the impoverished hermit believes he has become a healer, walking from village to village, tending to the sick, waiting for a sign from God. In this dream, his one companion, Moustique, wants to exploit his power. Moustique decides to impersonate a prophet himself, ignoring a coffin-maker who warns him he will die and enraging the people of the island. Makak, half-awake in his desolate jail cell, terrorized by the specter of his friend's corruption, clings to his visionary quest. He will try to transform himself; to heal Moustique, his jailer, and his jail-mates; and to be a leader for his people.
This file only contains brief summary of chap 3, language used in chapter 2 and 3, characters in chapter 2 and 3, cultural heritage and history in chap 2 and 3, and lastly the difference b/w lawrence of thalabia and salt and saffron acc. 2 chap 2.
On a Caribbean island, the morning after a full moon, Makak tears through the market in a drunken rage. Taken away to sober up in jail, all that night he is gripped by hallucinations: the impoverished hermit believes he has become a healer, walking from village to village, tending to the sick, waiting for a sign from God. In this dream, his one companion, Moustique, wants to exploit his power. Moustique decides to impersonate a prophet himself, ignoring a coffin-maker who warns him he will die and enraging the people of the island. Makak, half-awake in his desolate jail cell, terrorized by the specter of his friend's corruption, clings to his visionary quest. He will try to transform himself; to heal Moustique, his jailer, and his jail-mates; and to be a leader for his people.
This file only contains brief summary of chap 3, language used in chapter 2 and 3, characters in chapter 2 and 3, cultural heritage and history in chap 2 and 3, and lastly the difference b/w lawrence of thalabia and salt and saffron acc. 2 chap 2.
things fall a part themes and character Chintan Patel
Rigid social structure ; which isolates and sequesters the OSU, those whom the Igbo society cannot contain within its , ‘system of classification ’
The further fragmentation of the igbo community, , owing to the rigid demarcation between a man’s and a woman's role in the tribe
They go wrestle, celebrate festivals , go to war, while women stay at home
The overconfidence of the tribal in his attitude toward the new religion “EVANGELCAL CHRISTIANITY ”
The lack of unity in tribal’s response to threat posed by the new order and religion
On a Caribbean island, the morning after a full moon, Makak tears through the market in a drunken rage. Taken away to sober up in jail, all that night he is gripped by hallucinations: the impoverished hermit believes he has become a healer, walking from village to village, tending to the sick, waiting for a sign from God. In this dream, his one companion, Moustique, wants to exploit his power. Moustique decides to impersonate a prophet himself, ignoring a coffin-maker who warns him he will die and enraging the people of the island. Makak, half-awake in his desolate jail cell, terrorized by the specter of his friend's corruption, clings to his visionary quest. He will try to transform himself; to heal Moustique, his jailer, and his jail-mates; and to be a leader for his people.
A very useful presentation for the students and faculty as well.
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The presentation is not a mere creation of the author but it is based on various sources and purely designed to assist students in their examination. Quality of this presentation cannot be compared with the original text and genuine criticism of the literature. Students are advised to prefer the original texts for better results.
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Rigid social structure ; which isolates and sequesters the OSU, those whom the Igbo society cannot contain within its , ‘system of classification ’
The further fragmentation of the igbo community, , owing to the rigid demarcation between a man’s and a woman's role in the tribe
They go wrestle, celebrate festivals , go to war, while women stay at home
The overconfidence of the tribal in his attitude toward the new religion “EVANGELCAL CHRISTIANITY ”
The lack of unity in tribal’s response to threat posed by the new order and religion
On a Caribbean island, the morning after a full moon, Makak tears through the market in a drunken rage. Taken away to sober up in jail, all that night he is gripped by hallucinations: the impoverished hermit believes he has become a healer, walking from village to village, tending to the sick, waiting for a sign from God. In this dream, his one companion, Moustique, wants to exploit his power. Moustique decides to impersonate a prophet himself, ignoring a coffin-maker who warns him he will die and enraging the people of the island. Makak, half-awake in his desolate jail cell, terrorized by the specter of his friend's corruption, clings to his visionary quest. He will try to transform himself; to heal Moustique, his jailer, and his jail-mates; and to be a leader for his people.
A very useful presentation for the students and faculty as well.
Since its publication, Heart of Darkness has fascinated readers and critics, almost all of whom regard the novel as significant because of its use of ambiguity and (in Conrad's own words) "foggishness" to dramatize Marlow's perceptions of the horrors he encounters.
The presentation is not a mere creation of the author but it is based on various sources and purely designed to assist students in their examination. Quality of this presentation cannot be compared with the original text and genuine criticism of the literature. Students are advised to prefer the original texts for better results.
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A dance of the forests
1. A Dance of the Forests
By Wole Soyinka
Yesha Bhatt
M. K. Bhavnagar, University
2. Wole Soyinka - 1934
A Nigerian playwright, novelist,
poet, and essayist in the English
language.
He was awarded the 1986 Nobel
Prize in Literature.
He took an active role
in Nigeria's political history and
its campaign for independence
from British colonial rule.
“Much of his writing has been
concerned with "the oppressive
boot and the irrelevance of the
colour of the foot that wears it.”
3. Most recognized play of Soyinka
Performed on the celebration of
independence of Nigeria – 1960 – It got
published in 1963
“it ... degraded the glorious African past and
warned Nigerians and all Africans that their
energies henceforth should be spent trying to
avoid repeating the mistakes that have
already been made.”
Iconoclastic work that irritated many of the
elite in Soyinka's native Nigeria – demands
freedom from European imperialism
Portrayal of post-colonial Nigerian politics –
aimless and corrupt.
A Dance of the Forests - 1960
4. Characters
Gods
Forest Head
(Obaneji – When
as human)
Aroni (Forest spirit)
Eshuoro ( Forest
spirit – Spirit of a tree)
Ogun ( God of
carving)
Ghosts
Dead man
(Warrior – Soldier
in past life)
Dead Woman (Wife
of Dead Man and was
pregnant in past life)
Old Man (Demoke’s
father)
Human
Rola (Prostitute)
Adenebi (Council orator)
Agboreko (Fortune-teller)
Demoke (Carver)
Mata Kharibu (King)
Oremole (Demoke’s
student)
5. This Life
Rola (Prostitute)
Adenebi (Court historian)
Agboreko (Fortuneteller)
Demoke (Carver)
Past Life
Madame Tortoise (Queen)
Adenebi (Court historian)
Agboreko (Fortune-teller)
Demoke (Poet)
6. Plot
Dead man (wearing a uniform) – Dead woman
(pregnant) – their soul comes out from the grave –
in the middle of the forest – both were killed –
asks everyone passing through jungle to “will you
take my case?” nobody is taking their case – Mata
Kharibu killed them
Gathering of tribes in forest (to call forefathers to
take guidance ) – Aroni sent Dead man and Dead
woman at the gathering instead of forefathers
Aroni selected humans to attend the festival.
Rola – Adenebi – Demoke
Obaneji invites these characters to gathering
7. Plot
Discussion (1) about current scenario and why these
characters are there – Rola (happy with the condition) –
Demoke (Famous totem) – Adenebi (Wants some
peace)
Murete tells about Deads and mortals to Aroni – Aroni
went to search for them – Ogun is also searching
Demoke – Agboreko is also searching everybody -
Eshuoro is also searching mortals
Discussion (2) Aroni planned to find out the guilty one
(Demoke – Rola – Adenebi) - Adenebi is afraid of the act
of Aroni as he was also involved
Discussion (3) Obaneji and Adenebi about the lorries
and fire – Revelation of past ( Political hypocrisy)
8. Plot
Discussion (4) Death – How would you like to die?
(Past deeds – Life to death – Becoming a reason for
other’s death)
Discussion (5) – Revelation of identity) (Rola –
Demoke – Adenebi is afraid)
Agboreko and Old man talk about the plan of Aroni
Eshuoro complains about Forest head and deeds of
human - Demoke
All spirits enter and discusses about the human
Forest head took all in past
9. Plot
The story moves eight centuries ago – Court of
Mata Kharibu – the whole story of injustice –
Madame’s behaviour and making dead man
eunuch.
Eshuoro and Oremole arguments about
Oremole and Demoke – Eshuoro left
All spirits give speech about the condition of
forest
Woman enter with half-child – symbol of
incompleteness – Not alive nor dead
Questioner(Eshuoro) enters and asks Dead
woman why she died – tries to ask Dead man
something but Aroni arrives and reveals that he
is Eshuoro
10. Plot
Eshuoro tries to kill Demoke
and Ogun saves him.
Agboreko – Rola and Old man
(Demoke’s father) is there. Old
man asks Demoke
“Have you learned anything?”
Demoke did not reply
Play ends.
11. Themes
Reparation or
compensation to dead
Past life – present life
(deeds of characters)
Characters are waiting for
punishment
Dead man and woman are
there to make characters
realize their pain
Realization is everything
Mata Kharibu –
Madame Tortoise
All who have authority
are not correct
Corruption is
everywhere - Superiority
Punishment by Mata
Kharibu
Powerful exploits
powerless
Political hypocrisy
Atonement Corrupted Power
12. Themes
Traumatic incidents of
past
Psychological effects of
that incident
Past haunts and hurts
Dead man and woman
Demoke – realisation
Aroni and Forest head
helps them to move on.
Characters have multiple
haunting memory of past
Bad deeds of all characters
Past v/s present (mistakes)
Play is all about recalling
past – learning from it –
moving on from it
Mortals v/s immortals
“Have you learned
anything?”
Wounds - Trauma The Past
13. Themes
The play takes place in
forest
Spirits and Forest head is
involved
Various spirits like river,
stone, palm trees,
mountain visits ceremony
All parts of nature talks
about activities of human
which is harming nature
Natural world – Human
world
Dead woman got killed
when she was pregnant
“Half-child”
A baby born who is dead
from its birth
It symbolises the wrong
things happened with Dead
man and Dead Woman
Child has an influence of
spirits but will never be
able to go to the normal life
of humans
Nature Birth
14. Themes
Tradition and ritual is at the centre
Ceremony – Self-discovering
Revealing secrets and sins through
ceremonial tendencies
Narrative is going through rituals only
Agboreko – Half-child – Welcome dance
– Questioning – Speech by Spirits –
Revelation of past
The whole play is centred with gathering
of tribes
Ritual
15. Wole Soyinka's dystopian/utopian
vision in A Dance of the Forests
A metaphorical commentary of the sociopolitical situation in Nigeria.
The structure of the play in which Soyinka traces the past to the
present to forecast a dystopian future.
Utopian past – Dystopian present –> Utopian future
The hopeless past with the fruitless present to project a bleak future
Post-independence disillusionment
Clash of Past (Human atrocities) and Present (quests for a futurity
that is utopian)
Present is reflection of past (Dystopian) – Future can be imagined by
present (again dystopian – but one can still hope for utopian society)
16. Soyinka’s A dance of the forests: a
postmodern conceptualization
Re-reading of the play - relevance in the twenty-first century
Nigerian cum African society - deconstructive reading
The failure of vision and lack of cohesion in the society
Demythologizes old myths of progress - demythologizes old myths of
progress
Such paradox can lead to demythologizes old myths of progress.
All characters are suffering from within – The play does not contain
an idea of any progressive nation – Past is full of mistakes
Murder – reflects demythologizes old myths of progress
17. A spectacle of protest against war in Soyinka’s a
dance of the forests
an allegory of cosmic dimensions
Half-child is newly born Nation
Celebration of freedom is conducted by recalling forefathers – In
play spirits and ghosts are being called
Metaphysical and aesthetic way of presenting the things
Nature – medium to find spiritual meaning of life
Ritual format to express his consciousness of sociopolitical
imperatives
A play offered to a nation on the euphoric occasion of its
Independence, the immediate victim of the satire is that nation itself;